T: TRFC EP1 New hope coming
by F.S.N. Stefan
Summary: Terminator : The Resistance Fighters Chronicles "New hope coming"  The story runs after John's time travel. John meets with many resistance fighters. Weaver finds John Henry in Topanga.  Please read and review. If you don't like a screenplay, please leave
1. Teaser

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TERMINATOR

THE RESISTANCE FIGHTERS CHRONICLES

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EPISODE ONE

"New Hope Coming"

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Written by  
>Sirapop Nualnimnoi<p>

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This fan-produced fiction is a screenplay based on the science fiction drama television series developed for the Fox by Josh Friedman, Terminator - The Sarah Connor Chronicles. This is done in the spirit of fan fiction - to have fun and enrich the total fan experience beyond the limitations of the official story vehicle. This fan-made screenplay is being created available for entertainment purposes of the loyal fans of the show. This story follows the characters of John Connor, Sarah Connor, Cameron, Allison Young and more or all characters from TSCC after the events of the episode "Born to run" of the TV series Terminator - The Sarah Connor Chronicles. Please read and review. If you don't like a screenplay, please leave now.

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><p><strong>TEASER<strong>

WE OPEN ON:

BLACK SCENE;

NARRATOR (V.O.)  
>In 2012, Skynet, an interactive AI, became self-aware,<br>viewing humanity as a threat to its existence. It  
>decided to strike first. Sarah Connor, one of the world<br>guardians, tried to stop it but she couldn't. She died.  
>There's no hope for the human race. It could blow up the<br>world so easily. Some survivors created up their groups  
>and waited for their real leader arrive in the world<br>again. They believe one Connor who disappeared in the  
>year 2009, who would return with the hope for them.<br>His name is John Connor, the only one son of Sarah.

SUPERIMPOSE: "The year is 2027;"

FADE IN:

INSERT SCENES FROM S02EP22 (Since the scene that John and Weaver arrived in the apocalyptic future, to the scene that John found his dead uncle in the basement of ZeiraCorp);

CONTINUE:

DEREK  
>Well...You know what? I think you're<br>gonna be famous. My brother's back  
>and you're wearing his coat.<p>

John turns around, away from Derek, and looks at a strong man – KYLE REESE. Kyle wears battle dress uniform. John's eyes widen at the sight of Kyle.

Kyle looks at John with a hint of wary curiosity, intrigues but cautious. Movement behind Kyle catches John's attention.

It's ALLISON YOUNG(19) who looks very like Cameron. (In fact, Cameron was modeled after her)

BACK TO JOHN

It seems like John's heart soars and he lets out a small smile at us, at the sight of Allison who John thought that she was Cameron.

ALLISON kneels down and slowly strokes a German shepherd, smoothing down its fur and scratching it behind one ear, and the dog seems to relish her affection and leans into her. As Allison tilts up, her face displays that she doesn't know John. John realises something is wrong.

JOHN's smile has faded before it has formed and his heart plummets in despair.

Now KYLE decides to ask his Derek, that who John is. Finally:

KYLE  
>Who's he, Derek?<p>

Now we see everyone act like they all want to ask this question too but Kyle asked that. They are doubtfulness. Eyes flash a glance to John and Derek.

DEREK  
>I have never seen him around here before.<p>

KYLE  
>(turns to John, looking up and down)<br>You one of the grays?

John can't answer that question. He doesn't know who grays are. He is confused.

DEREK  
>I don't think so.<p>

INT. ZEIRA CORP SERVER ROOM - DAY

The room is just as it was when last seen in S0222. Ellison, Sarah, Cameron's deactivated body, and the server farm. As the last of the time bubble FX's out of existence:

SARAH  
>I love you, too.<p>

Now it is incredibly QUIET. Ellison is stunned and Sarah looks like her child just left her forever. Both Ellison and Sarah pause to get a handle on reality. Ellison, turns to see Sarah staring at where John had been in front of her just moments before, steps cautiously toward her.

ELLISON  
>Are you okay?<p>

Sarah can only respond with a head shake, "no".

ELLISON (cont'd)  
>So we are all out of robots.<p>

They both look at Cameron's shell.

ELLISON (cont'd)  
>What will we do now?<p>

Sarah shrugs.

SARAH  
>I don't know. I've to defeat Skynet,<br>stop judgement day, but I don't know  
>how to start it. (beat) What will we<br>do first, James?

Sarah pauses as Ellison starts turn around the room.

ELLISON  
>I don't know.<p>

They turn to face each other.

SARAH  
>You heard Weaver. Picking up Savannah<br>and her gymnastics ends at 5:30.

ELLISON  
>What time is it now?<p>

SARAH  
>2.30.<p>

They both sigh. Then MATT MURCH enters from the door beside Ellison. He stops when he sees both Sarah and Cameron.

MURCH  
>What the hell?<p>

Startled, both Ellison and Sarah face Murch.

****FORCE ****ENDING ****THIS ****PAGE****


	2. ACT ONE

**ACT ****ONE**

**(****Marriage ****of ****the ****Emissaries)**

INT. ZEIRA CORP ENTRYWAY - DAY

There are several emergency vehicles visible through the glass: fire, police, EMT, etc. Ellison, along with some guards block the passage of a few very official-looking persons. Some ASSISTANT in shirt and tie hands a thin folder to Ellison, who glances at it and then hands it to AGENT NORGAARD (S02EP01).

ELLISON  
>This is the reason you can't go up, Agent Norgaard.<p>

Norgaard glances quickly at the cover letter.

NORGAARD  
>Classified? Come on.<p>

ELLISON  
>What we had was a very unfortunate incident<br>that involved a highly classified project.  
>I can't allow you to inspect the scene until<br>the area is secured. Our fire suppression  
>system stopped all fires within seconds.<br>My architects assure me that the structure  
>of the building is sound. No one was hurt.<br>You don't have any reason to be here.

Norgaard hands back the folder.

NORGAARD  
>I'll be back, Mr. Ellison.<p>

Norgaard walks off and starts consulting with local guys. Ellison turns to one of the guards.

ELLISON  
>No one gets through..., do you understand?<p>

The RANKING GUARD nods.

Ellison disappears down the passage that's being guarded.

EXT. SKYNET TERRITORY – NIGHT

A six-legged HK about the size of a steamer trunk skitters on top of some reinforced concrete slabs that were once a bridge. A flat swiveling disk on the HK scans.

SIX-LEGGED HK'S H.U.D.

With broad-spectrum EM cameras, the view slowly pans around the scene that has some civilization debris, but is otherwise relatively clean.

CROSSHAIRS zero in on a hotspot between two large pieces of debris.

BACK TO SCENE

Two small plasma cannon emerge from panels on the top of the HK and start to fire. The target of the fire, a HUMAN in BDUs, bursts from his hiding place and runs like The Flash in an effort to elude the machine. He stops and fires some plasma rounds that miss the HK, but provide the opportunity for the Human to disappear around a corner. The HK skitters toward its prey.

INT. GYMNASIUM - DAY

SAVANNAH WEAVER, dressed in leotards topped with a T-shirt, sees Ellison. She grabs her gym bag and hurries over.

SAVANNAH  
>Hi, Mr. Ellison.<p>

ELLISON  
>Hi, Savannah.<p>

SAVANNAH  
>I thought mommy was going<br>to pick me up today.

ELLISON  
>Oh, I'm sorry about that but<br>Ms. Weaver have an urgent  
>business. She can't come here<br>to take you. You understand?

Savannah NODs.

ELLISON (cont'd)  
>We'll talk about that when we<br>get back to Zeira Corp.

Savannah just shrugs and goes along.

INT. ZEIRA BASEMENT – NIGHT

Everyone is still there, every eyes glancing John Connor and we are being with him.

ANGLE ON - A NEGROID SERVICEWOMAN WHO HAS STOOD BEHIND KYLE – ZYKES (30) as she steps forward and stands in front of Kyle, about one step next to John, ignoring John between her and Derek:

ZYKES  
>We've to go now.<p>

Derek NODs as the fuller steps toward.

FULLER  
>(interrupting)<br>Apologize ladies and gentlemen.  
>(as everyone turns to face him)<br>We can't move now. The Sun is rising  
>and the machines have infrared. We've<br>to stay here and guard this place till  
>nightfall again.<p>

John turns around and no one interests him. John stops turning around as STEFAN (A strong Thai soldier with the royal Thai army rank of colonel, 5'8", of about 24), grabbing a large baggage by his right hand, steps in our scene from the way behind Allison.

STEFAN  
>Hey Derek, what're you waiting for?<p>

Derek opens his mouth, wants to talk something, but Allison is faster. She turns to face Stefan who standing beside her.

ALLISON  
>We have a little problem. We can't move now.<p>

Stefan turns to John who responses by facing him, looking in his eyes. Stefan can't smile and his face displays confusion.

STEFAN  
>(murmuring)<br>Who are you, boy?

Stefan looks around. He eyes through Derek to the fuller for a few seconds. He sighs and flashes a friendly smile at John. He then turns to Derek so quickly.

STEFAN  
>Reese, Spread out, secure the perimeter.<br>Corporal Zykes will take this boy.

John is still confused. Only one thing he can do is turning around and waiting to see what will happen. Derek and Kyle turn and salute to him.

DEREK KYLE  
>Sir. Sir.<p>

Derek turns to the fuller.

DEREK  
>Go. Send a command.<p>

The fuller NODs and leaves them. Derek and Kyle follow him as Zykes and John turn to face Stefan at the same time.

STEFAN  
>(to Zykes)<br>Corporal Zykes, you take this  
>boy to your new holding room.<p>

Zykes salutes to him then turns to John.

ZYKES  
>Come with me.<p>

ALLISON  
>(to John)<br>Don't be afraid, boy. What's your name?

John flashes a smile to them.

JOHN  
>I'm John, John Connor.<p>

ALLISON  
>(smiles)<br>Okay, Connor. Go with her.

John NODs. He then steps toward Zykes, but his eyes still looks to Stefan. He gives him a small smile then...

JOHN  
>Thank you.<p>

STEFAN  
>John, nice to meet you.<br>(smiles)  
>I'll go to see you later.<p>

Zykes takes John and brings him toward a dark hallway behind Stefan and Allison.

Stefan sighs and turns to face Allison.

STEFAN  
>I saw how he has looked at you.<p>

ALLISON  
>I saw that too, darling. Why?<br>(beat)  
>Can you read him?<p>

Stefan shakes his head, "no". Allison tilts her head like Cameron always did when Cameron had a question.

ALLISON  
>So why did you...<p>

STEFAN  
>He's like Derek, like Kyle, and you,<br>and more people that I can't read.  
>(a beat)<br>He has something inside him. He comes  
>here to find something or someone.<p>

Allison turns to her dog.

ALLISON  
>Go, Simon. Get some sleep for yourself.<p>

Simon barks one clip then leaves her. Allison smiles after him before she turns back to Stefan.

ALLISON  
>We should go.<p>

STEFAN  
>Where?<p>

ALLISON  
>My room. (smiles) I know you want to<br>stay with me.

Stefan flashes a smile.

STEFAN  
>You read me well.<p>

ALLISON  
>Unlike you can. You are a good psychic.<br>You are the best soldier of the resistance.

Allison smiles and looks up to see Stefan who faces her.

STEFAN  
>For me, you are the best emissary too.<br>(smiles)  
>Let's move out of here.<p>

Stefan reaches one of his hands to Allison who takes it.

WE ZOOM OUT as they both giggle and start to walk off together.

INT. ZEIRA OFFICE - DAY

In a smaller version of Weaver's now-demolished office, Sarah watches a bank of monitors that cycle through the surveillance cameras. One image doesn't cycle: it's trained on Savannah starting to work on her homework. Ellison enters the office.

SARAH  
>What the hell did you tell her?<p>

ELLISON  
>What can I tell her? That her cyborg brother and<br>her gynoid mother time traveled to the future?

SARAH  
>She's young. After everything she's<br>seen, it probably would make sense.

ELLISON  
>Maybe.<p>

SARAH  
>But we have bigger problems than whether<br>or not that little girl understands.

ELLISON  
>Kaliba.<p>

Sarah gets attention on that.

ELLISON (cont'd)  
>I heard you while you were talking with<br>Ms. Weaver. Who are they? Or what are they?

SARAH  
>They are behind what happened today.<br>They are behind a lot of what's been  
>happening for a while.<p>

ELLISON  
>Who are they?<p>

SARAH  
>I don't know yet. But they know us.<br>They know who we are. They know  
>where we are. We have to move.<p>

The monitor shows Savannah wandering away from her homework and off-camera.

INT. ZEIRA BASEMENT - DAY

Ellison and Sarah walk toward the server room.

INT. SERVER FARM - DAY

Savannah stands staring at Cameron's damaged and lifeless combat chassis as Ellison and Sarah enter.

ELLISON  
>Savannah.<p>

SAVANNAH  
>Where's John Henry?<br>Has he gone with mommy?

SARAH  
>Yes, he has.<p>

Savannah stares at Cameron's battle-damaged face.

SAVANNAH  
>Is he going to be alright?<p>

Ellison crouches down to Savannah's level.

ELLISON  
>Don't worry. Your mom won't let<br>anything bad happen to him.

SAVANNAH  
>When will they be back?<p>

ELLISON  
>I don't know. It might be a while.<p>

Savannah considers.

SAVANNAH  
>Who's going to take care of me?<p>

Ellison starts to turn to look at Sarah, but stays focused on Savannah.

MURCH (O.S.)  
>I will, Savannah.<p>

Everyone turns and sees Murch who slowly comes in and walks to Savannah. Murch then crouches down to Savannah's level beside Ellison and gropes her head.

MURCH (cont'd)  
>Would you like to live with me<br>until your mom gets back home?

SAVANNAH  
>Okay, Mr. Murch.<p>

Savannah smiles, reluctantly accepts this and wraps her arms around Murch's neck...while also staring at Cameron's damaged face.

INT. ALLISON'S ROOM – NIGHT

A small room about the same size Derek's room in S01EP06 is, contains one bed, one light bulb and two trunks.

SOUND OF LOCKS UNLOCKING. The door is opened.

Allison and Stefan step in this room together.

ALLISON  
>This is my room, Stefan.<p>

Stefan puts his baggage down nearby a trunk and looks around the room as Allison turns on light bulb. Stefan steps to the bed, pauses just for a few seconds, then turns back to face Allison.

STEFAN  
>Allison, your bed is too big.<br>(smiles)  
>Where will my new bed locate<br>in this room?

Allison smiles then chuckles.

STEFAN (cont'd)  
>What's wrong?<p>

Allison stops.

ALLISON  
>You can sleep with me, sweetie.<p>

Stefan shakes his head, "no".

ALLISON  
>Why not?<p>

As Stefan gives a smile and his hand reaches in his pocket:

STEFAN  
>Until you wears...<p>

Stefan grabs a box out from his pocket and opens it. Allison looks very surprise with the things inside the box.

ANGLE ON - THE OPEN BOX

There are two wedding rings inside it, a small one for female and a bigger one for male.

STEFAN (O.S.)(cont'd)  
>...my ring.<p>

BACK TO SCENE

Allison's smile displays powerful willingness as her tears start to flow from her eyes. She looks very happy and excited.

ALLISON  
>Gosh! What're these?<p>

Stefan kneels down on one knee in front of Allison, his hand reaching the ring box up to her, as he offers marriage:

STEFAN  
>Will you marry me, Allison Young?<p>

Allison looks down at Stefan's eyes and gently puts her right arm on his left cheek.

ALLISON  
>I love you, Stefan. I'll marry you.<p>

Stefan stands up, puts the box on the bed and his left hand takes the smaller ring from the box. With his right hand, he takes Allison's left hand and gently puts the ring just above her finger. He's ready to put it at her finger. He looks up and sees in her eyes.

STEFAN  
>Allison, do you take me, Stefan<br>to be your husband?

Allison starts blush. She smiles from ear to ear then NODs.

ALLISON  
>I do.<p>

Stefan gently puts the ring at her finger and hands another ring to Allison who takes it. She then takes Stefan's left hand with her right hand, puts the ring just above the finger and looks in his eyes. She giggles for a moment before.

ALLISON  
>Stefan, do you take me, Allison<br>to be your wife?

He flashes a smile as he flushes.

STEFAN  
>I do.<p>

And Allison gently puts the ring at the finger, they both looks each other in the eyes as they both still flush.

STEFAN  
>Now we are spouse. I can kiss my wife.<p>

Stefan takes her hand in cross finger, kisses on it, then looks up to face her, gets closer and kisses her at the mouth. We know that this isn't just a common kiss but it can be a passionate kiss, it's very hot. She gives him control of the kiss as their lips slide and suck at each other, the tip of her tongue fencing with his until she grants it to her mouth where they wrestle in a sensuous massage. His arms wrap tightly around her back. One of her hands still wraps around his head, touching his short hair, as another hand slides through his back to the hem of his trousers, sliding from the back to the front, and putting into his trousers trying to excite his eroticism. He immediately breaks their kiss and stops her hand then she looks in his eyes with a suspicion as he gives her a head shake, "no".

ALLISON  
>(moaning)<br>Why, Stefan?

STEFAN  
>I can't hurt you, not now,<br>(smiles)  
>not yet.<p>

Allison smiles back as one of her hands touches his hair.

ALLISON  
>We are spouse. You are husband.<br>(beat)  
>I'm your wife.<p>

STEFAN  
>I'm not ready to do that. I'm sorry.<br>(beat)  
>I'm sorry, darling, I can't.<p>

Allison steps off him and flashes a friendly smile.

ALLISON  
>It's okay. I understand.<p>

STEFAN  
>Thank you, darling.<p>

Allison pauses for a sec.

ALLISON  
>What will we do if you don't<br>wanna have sex today?

Stefan pauses as we are ZOOMING out.

INT. ZEIRA BASEMENT - DAY

Sarah, Ellison, and Murch meet in the hall immediately outside the server farm. Savannah can be seen through the doorway doing her homework at John Henry's table.

MURCH  
>We can't.<p>

SARAH  
>I don't think you understand. They<br>know where we are. They'll be coming.

MURCH  
>What will we tell Savannah?<p>

Sarah considers that.

MURCH (cont'd)  
>She'll ask us that what's going on.<p>

SARAH  
>Okay, we won't move.<p>

ELLISON  
>But you told me –<p>

SARAH  
>(interrupt)<br>Nothing's as important as Savannah now.  
>Hard to say. We've to keep her here.<p>

Both Murch and Ellison turn and look into the server room, glancing through Savannah to Cameron's deactivated body.

ELLISON  
>What about Cameron?<p>

Sarah turns into the room and sighs.

ELLISON (cont'd)  
>Do you still want to burn her?<p>

Ellison turns to Sarah and waits for the answer.

SARAH  
>I want that but if I do that,<br>John won't pardon me. He loves  
>her. He went to the unknown<br>future for her, for this machine.

Sarah turns to face Murch.

SARAH (cont'd)  
>Mr. Murch.<p>

Murch immediately turns back to face Sarah.

SARAH (cont'd)  
>Do you have someplace we can hide her?<p>

Murch nods.

MURCH  
>Ms. Weaver and I have one. I'll take you there but<br>after we find the keys in her own office.

INT. MESS HALL – EARLY MORNING

The mess hall is basically another in a sequence of poorlylit rubble-filled rooms in what used to be the basement of ZeiraCorp. The difference from other areas being that the rubble has been fashioned into tables (more or less). About a dozen resistance SOLDIERS are here: a group of three, a group of five, and three sitting alone including Zykes.

ALLISON and STEFAN enter the mess hall and go to join Zykes.

ALLISON  
>Hey Zykes, where's the boy?<p>

Zykes flashes a friendly smile.

ZYKES  
>Tunnel 4, near Zeira basement.<br>You two need to talk with the boy.

ALLISON  
>Yes. Stefan and I need to talk with him.<br>We really want to know who this boy is.  
>(a beat)<br>So where's the key?

INT. HOLDING ROOM – EARLY MORNING

A small room, basically a one-time storage closet, contains a heavy door, a bucket, one light bulb, and one JOHN CONNOR. John wears filthy distressed clothes (more like rags). The pants are too big, and the open-front shirt won't close. John sits on the floor, his back resting against a wall away from the door but still viewable from the door-slit, his chin on his knees. He looks intense.

Sounds of LOCKS UNLOCKING and BOLTS SLIDING precede the door opening, flooding the room with comparably bright light. A silhouetted man steps inside and closes the door – Kyle Reese

John lifts his head and stares at the entrant with a boyish longing. Kyle stares back, slightly unsure.

KYLE  
>John Connor.<p>

JOHN  
>Kyle Reese.<p>

Kyle's expression hardens a bit. He considers John with some suspicion.

INT. ZEIRA BASEMENT – EARLY MORNING – SAME TIME

DEREK REESE, in BDUs and a stocked ammo vest searches the area trying to find:

DEREK  
>Kyle!<p>

Derek sees a figure in a corner popping a power-pack (magazine) into his plasma rifle.

DEREK (cont'd)  
>Alvin, you seen Kyle?<p>

ALVIN (28) turns, shrugs. Frustrated, Derek turns down another tunnel as Stefan and Allison arrive there. Derek salutes to Stefan.

STEFAN  
>Lieutenant, who are you searching for?<p>

Derek drops his hand. Stefan crosses his arm and gets attention on Derek's answer.

DEREK  
>Master Sergeant Kyle Reese, sir.<p>

ALLISON  
>Kyle Reese.<p>

STEFAN  
>I know where he is now. If we meet<br>him, what we will tell him for you.

DEREK  
>Thank you, sir. Please tell him that<br>I'm waiting there. He knew where there is.

Stefan flashes a friendly smile.

STEFAN  
>I'll tell him.<p>

Stefan NODs to Allison. She nods back then they both turn to leave.

DEREK  
>Hey!<p>

They both turn back as Derek glances at the rings on their fingers.

DEREK (cont'd)  
>(smiles)<br>Congratulations.

They goggle at their rings then look up to Derek and smile back.

STEFAN /ALLISON  
>Thank you, Reese.<p>

They both turn and leave.

EXT. APOCALYPTIC FUTURE TOPANGA – EARLY MORNING

Vegetation and young trees are scattered about in this hilly terrain just as in the past. There are scattered structures, mostly houses that were damaged during JD and are falling apart. There is very little rubble strewn about. It mostly looks like a forest fire had come through many years ago and no one moved back after everything grew back. A single HUMANOID ENDOSKELETON maneuvers around a stand of trees. It has a pair of plasma rifles at the ready.

A SOUND of debris moving attracts the endo's attention. Clearing the trees, it approaches the ruins of a HOUSE.

CLOSE ON - A door-slit-sized opening in the house's skin. From the shadows inside the slit, a pair of cyborg eyes...CAMERON/JOHN HENRY's eyes.

BACK TO SCENE

The Endo approaches the structure, scanning for an ambush.

INT. HOLDING ROOM – EARLY MORNING – FEW SECONDS LATER

Kyle and John, just as we left them.

KYLE (cont'd)  
>I remember you, John.<p>

JOHN  
>No, we've never met before.<p>

KYLE  
>You aren't a properly liar. I've met you.<br>You are the same one that picked my ball.  
>I never forget your identity, John.<p>

JOHN  
>Okay, we've ever met but why?<p>

KYLE  
>Why? Why are you here? Why do you still look<br>like 18 not 36? Why are you still alive?

JOHN  
>It's complicated and if I tell you,<br>you won't believe me. Will you  
>believe me, if I tell you?<p>

KYLE  
>(NODs)<br>I'll believe if it is believable.  
>So tell me the truth.<p>

JOHN  
>Okay, my name is John Connor.<br>My mom is Sarah Connor. I...

KYLE  
>(interrupt)<br>Wait. You told your mom is Sarah Connor?

JOHN  
>(NODs)<br>Yes, she is. What?

KYLE  
>That seems familiar.<p>

Kyle checks his watch.

KYLE (cont'd)  
>Oh, I'll be dead. It's 5:52. I gotta go now.<br>I'll see you around, Connor.

Kyle picks up his rifle then exits the door very hurriedly.

INT. OUTSIDE HOLDING ROOM – EARLY MORNING

Kyle finishes securing the door and turns to leave but Allison and Stefan come to him from the way behind him.

KYLE  
>Good morning, Alise!(to Stefan)<br>Good morning, Colonel.

ALLISON  
>Derek's searching for you.<p>

Kyle checks his watch again.

KYLE  
>Derek had an appointment with me. I'm late.<p>

ALLISON  
>You probably wouldn't be if you<br>hadn't been talking to our prisoner.  
>(beat)<br>Give me a key, Reese.

Kyle sends a key to Allison. Kyle sees the ring on Allison finger as he starts to smile.

KYLE  
>Congratulations, Alise.<p>

After that, he runs to the north. Allison walks to a holding room as Stefan still follows Kyle with his eyes.

INT. HOLDING ROOM – EARLY MORNING

John sits, just as he did when Kyle entered, but this time Allison and Stefan enter...chewing on some food. John stays sitting as they both stand opposite, out of easy attack range. John has mixed emotions about Allison and Stefan.

ALLISON  
>I'm sorry about this security.<p>

JOHN  
>Don't worry.<p>

John looks around and STOPs at their left hands' fingers. He sees the rings. John immediately looks up and gives them a glad smile

JOHN (cont'd)  
>Hurray! Congratulate to both of you.<p>

Allison shrugs.

JOHN (cont'd)  
>So what do you both want?<p>

Stefan steps toward John as Allison reaches her hand in her pocket. She picks a pack of burger out and hands it to her husband who hands it next to John.

STEFAN  
>I know that you are hungry. That is<br>a rat burger. Can you eat it, John?

John takes it and quickly un-wraps it. He bites just a quarter of it and then looks up. As he's chewing on his food:

JOHN  
>Mmmm...Thank you.<p>

**END ****OF ****ACT ****ONE**


	3. ACT TWO

**ACT TWO**

**(Old ****friend ****arrives ****here)**

INT. HOLDING ROOM – EARLY MORNING – A MOMENT LATER

John completely eats a rat burger. He stands up and faces them.

JOHN  
>Why are you both here?<p>

ALLISON  
>We're supposed to find out who you are. Flirt.<br>Make you crush on us. Make you trust us.

JOHN  
>How about we just say you did and you let me go?<p>

ALLISON  
>It doesn't work that way.<br>(moves closer)  
>I don't care who you are. You cross me,<br>try to hurt us...I'll shoot you in  
>the head. (to Stefan) Start, sweetie.<p>

Stefan moves closer John and takes Allison behind him but not far from him.

STEFAN  
>I'm colonel Warapop Pichitchai. You can<br>call me Stefan. This is Allison Young,  
>my newlywed wife. I just want us to<br>understand each other. Do we understand  
>each other, now? John?<p>

JOHN  
>I think so.<p>

With that, Allison and Stefan go over and sit beside John. John now is between them. Needless to say, John is confused and suspicious.

ALLISON  
>So, where were you born?<p>

JOHN  
>Guess.<p>

ALLISON  
>I don't know. You look clean. Really clean.<br>You aren't from around here or any place  
>else that glowed. Flagstaff. Am I close?<p>

JOHN  
>Real close. The jungle. Central America.<p>

ALLISON  
>Serious?<p>

JOHN  
>Yeah. How about you?<p>

John tries to keep it light, but he's got a plan.

JOHN  
>Guess. OK. Well...you're clean, but<br>not as clean as me, Allison.

John smiles to Allison.

JOHN (cont'd)  
>You sound kind of local. Probably<p>

old enough to have been born before  
>J-Day. I'd guess...<p>

INSERT FROM S02E04

John confronts Cameron in youth center. Cameron: "I'm Allison from Palmdale."

BACK TO SCENE

JOHN  
>Palmdale. Allison from Palmdale.<p>

Allison is a little stunned, but slowly a smile builds.

ALLISON  
>That's right. You got it.<p>

STEFAN  
>Very cool, John.<p>

ALLISON  
>Okay, then why were you in<br>our basement two hours ago?

JOHN  
>I and my friend were here to searching<br>for my best friend. Name is Cameron.  
>She looks like you, Allison.<p>

ALLISON  
>That's why when you saw me like<br>we've met. (beat) Then where's  
>your another friend now?<p>

JOHN  
>I don't know. She had disappeared<br>before I met all of you here.

Stefan stands up so quickly like something is wrong. Allison immediately looks up at him.

ALLISON  
>What's wrong?<p>

Stefan turns back to Allison, sliding his eyes from Allison to John, his eyes widen. Allison stands.

ALLISON (cont'd)  
>What's going on?<p>

Stefan's eyes slide back to Allison. His face displays something is abnormal. John slowly stands up and steps toward him. He responses John.

JOHN  
>What happened?<p>

Stefan steps away from them, going to the door. He turns to Allison as one of his hands opens the door.

STEFAN  
>John, Alise, the machines come.<br>We have to get out of here.

Allison abruptly takes one of John's hands, trying to take him with her. He doesn't go promptly with her.

ALLISON  
>We've to go now, John. Stefan's a psychic.<br>I can't explain everything right now.

STEFAN  
>We gotta go now.<p>

John relaxes and agrees. He NODs and stands up. Stefan lets Allison take John out before he follows and closes the door. Now the room is empty. No one is in here.

ANGLE ON - A BUCKET as it silvers itself and slowly MORPHS into a shape of female before it turns into CATHERINE WEAVER. She is dressed like when we had seen her for the last time in S02EP22.

Weaver walks to the door then silvers herself into mimetic poly – alloy and liquefies before disappears.

INT. WEAVER OFFICE – EVENING

Office of Catherine Weaver was damaged. It still looks like the office after attacked in S02EP22 but there is no fire.

Matt Murch stands and keeps looking at the dead HK air hawk that attacked Catherine as he considers it. He looks around the room then sees something radiate from an area of the debris. He then walks close it and kneels for checking. It's a string of three keys. He takes them up then considers.

Sarah and Ellison enter.

SARAH  
>You found them?<p>

Murch turns to them and nods.

EXT. SKYNET TERRITORY - MORNING

The Human's LEGS blur past. Other than that, the view isn't too bad. Flowers are blooming and bees are pollinating. A few clouds float in a blue sky. A slight breeze wafts the flora.

The six-legged HK blurs on past.

INT. ZEIRA BASEMENT - ENTRANCE - MORNING

DOGS BARK very insistently.

ZYKES and Kyle look out through peepholes and/or periscopes. Allison, Derek, Stefan, Alvin, and OTHER SOLDIERS gear up for battle. Derek has powered on his plasma rifle.

STEFAN  
>You see anything?<p>

KYLE  
>Not yet.<p>

DEREK  
>It's close.<p>

The tension builds now that all there is to do is wait to see what's going on...and try to ignore the DOGS BARKING.

There isn't much concern beyond normal. This happens a lot.

ZYKES  
>Got it. Next to Bunny Slope. A grunt.<p>

KYLE  
>I see him. Roach on his tail.<p>

DEREK  
>(into comm)<br>Crow two, a roach at  
>Bunny Slope. You got it?<p>

PERISCOPE VIEW

As a human dashes out of frame, the six-legged HK, gains ground until a PLASMA BLAST squashes it.

BACK TO SCENE

KYLE  
>They got it.<p>

The dogs, though still a little agitated, have calmed and stopped barking. The soldiers relax a bit but stay alert. A strong KNOCK pounds on the door. Derek nods for the door to be unlocked. As the door swings aside, several guns aim at the male resistance fighter who enters. The man wears BDUs and has a bandana over his face. He sees the dogs and stands next to them, eliciting no barks. The door closes.

DEREK  
>What did you do to get<br>a bug up your six?

The bandana comes off revealing the battle-hardened MARTIN BEDELL.

BEDELL  
>Just some hijinx.<p>

DEREK  
>Captain Martin Bedell.<p>

Bedell and Derek shake hands.

DEREK (cont'd)  
>(to soldiers) Stand down.<br>(to Bedell)  
>What brings you around to our<br>trash pile, captain?

BEDELL  
>Perry sent me to protect the son<br>of the leader of Asian resistance  
>fighters, emissary of our alliance.<br>(beat)  
>Where's he now?<p>

STEFAN  
>I'm here.<p>

Bedell turns to face Stefan immediately and automatically salutes to him. Stefan salutes back to Bedell.

STEFAN (cont'd)  
>My father, is he okay?<p>

Bedell drops his hand.

BEDELL  
>He's okay, sir. But why are<br>you still here, colonel?

Bedell's gaze has fixed on someone who had stayed in the b.g., but is now visible as Allison, Stefan and some soldiers behind them clear out.

BEDELL (cont'd)  
>Connor?<p>

Derek, Kyle and Allison look around to see John. Stefan doesn't surprise about that.

BEDELL (cont'd)  
>John Connor?<p>

They all except Stefan are confused.

EXT. PARKING LOT – MORNING

CATHERINE WEAVER walks in our scene from the street behind the parking lot...she's near the bank of the lot. There're some trees twenty yards away, many broken cars, and scattered structures, mostly buildings around here that were damaged during JD and are falling apart. She turns around like she's looking for a vehicle that can move her out faster than herself. She takes a while then she stops and glances at a Chevy Camaro that is seven yards away from her left side. She smiles before she MORPHs into a silver snake (Weaver-Snake). Weaver-Snake slowly slithers to the car.

INT. ZEIRA BASEMENT - ENTRANCE – MOMENT LATER

John looks a little like a dear in headlights as Bedell approaches. The soldiers who had been clearing out now stick around.

BEDELL  
>I don't believe it.<p>

JOHN  
>Martin Bedell.<p>

DEREK  
>You know him?<p>

BEDELL  
>Know him? I owe him my life.<p>

Now Derek is really confused.

INT. TOPANGA – MORNING - SAME

A dead cyborg, looking for all the world like Cameron/John Henry, is tossed into the house like a sack of potatoes and the door is shut...

...by the Endo who turns and gives its skinless grin to the audience. (Fine HD detail shows barely visible repairs done to the front left quadrant of the skull.)

INT. ZEIRA BASEMENT – MORNING

Derek, John, Bedell, Allison, Stefan, Zykes, Alvin, and many other resistance soldiers are gathered as Bedell is the focus.

BEDELL  
>It was the first time I was targeted by<br>Triple-8. We were in the woods. I slipped  
>and fell down a small hill. The Trip-8<br>was right on top of me. I was a goner.  
>Then John here-<p>

John is feeling a little embarrassed by this.

BEDELL (cont'd)  
>- shouted, "Hey. Look over here.<br>It's me, Connor. John Connor."

Eyes flash a glance to John.

BEDELL (cont'd)  
>The tin-can totally lost interest in me.<br>It was like I didn't even exist, I was  
>too small a target. John led it away.<br>By the time I caught up a minute later,  
>the endo was melting in thermite.<p>

Derek and others can't help staring at John.

DEREK  
>When was this?<p>

BEDELL  
>Few years ago.<p>

ALLISON  
>John, let's get back to your<br>holding room. We've to talk.

STEFAN  
>Yeah, John. We need to talk.<p>

The Soldiers wander off. John gets up to follow Allison and Stefan.

BEDELL  
>Connor. Later?<p>

JOHN  
>Yeah. Later.<p>

John exits with Allison and Stefan. Derek is still a little stunned.

INT. JOHN'S HOLDING ROOM – MORNING

Allison ushers John and Stefan into the room. They speak in hushed tones, but not whispers.

ALLISON  
>How does Bedell know you?<p>

JOHN  
>It's like he said.<p>

ALLISON  
>When?<p>

STEFAN  
>2008.<p>

Allison and John immediately turn to Stefan with some confusion.

STEFAN (cont'd)  
>I've just known that.<p>

ALLISON  
>Bedell's mind.<p>

STEFAN  
>(NODs)<br>Yes. In his mind, John's a hero for him.  
>John helped him from the endo in P-Alto.<p>

ALLISON  
>No. How old was John?<p>

Allison turns to face John.

JOHN  
>That story Martin told?<br>To me...a few months ago.

Allison is still confused.

JOHN  
>I'm fighting a war—against<br>Skynet-across time.

ALLISON  
>What?<p>

Allison turns to face her husband. She always believes him and she wants to listen from him.

STEFAN  
>Allison, believe me and believe him.<br>I know what lie is.

JOHN  
>I- Me and future, older, me have<br>been fighting Skynet using time travel.

Allison LAUGHS a very ill-placed laugh.

JOHN (cont'd)  
>I'm telling you the truth.<p>

ALLISON  
>Stefan!<p>

Allison stops as her anger starts to grow.

STEFAN  
>Relax, Alise. He's telling the truth.<p>

Allison relaxes.

ALLISON  
>So John, you kill the metal?<p>

JOHN  
>No. I melted a triple-8.<br>Someone else shot the-

ALLISON  
>Derek.<p>

JOHN  
>What?<p>

ALLISON  
>Or Kyle. (a beat) I've seen how<br>you look at them, John. They mean  
>something to you. One of them was<br>with you in 2008. I'm guessing  
>it was Derek.<p>

John stares at Allison long and hard. Allison still doesn't believe John yet. She needs Stefan's confirmation. She slides her eyes to her husband then he NODs for the confirmation. She then tightly sighs as Stefan steps to her, one of his hands touching on her left shoulder. Allison slowly takes his hand down and smiles at him to show him that she's okay. Stefan smiles back before he and Allison return to face John who faces them.

STEFAN  
>Okay, now John, you can tell us<br>everything that you want to tell us.

John steps forward in his best "John Connor" posture.

M.O.S. – WE SLOWLY ZOOM OUT AS John tells something to them that we can't hear but Stefan's and Allison's faces display attentiveness at what John tells. He tells things to them for a minute.

WE DISSOLVE TO...

INT. CHEVY CAMARO - DAY

CATHERINE WEAVER slowly drives the car as she turns around and keeps looking. While she drives and turns around, we TURN OUR CAMERA forward through the broken front window and see the ruins of Topanga city. We're near a collapsed apartment that is away from our Chevy Camaro about thirty yards.

EXT. CHEVY CAMARO – DAY

We see the car move forward faster but still slowly. Now the car moves closer a collapsed apartment.

EXT. COLLAPSED APARTMENT – DAY – MINUTES LATER

Weaver screeches to a stop. Jump out. She MORPHs into Weaver-Snake again and crawls to the front gate of the apartment.

INT. WEAVER'S VAULT - EVENING

The vault is the large room, basically like the laboratory. The door made of a kind of metal. There are convenience food and medicines on shelves along the left wall. There are many crates of coltan, and many weapons including MG36, M249, LSA machine guns, QBB – 95, FLK cannons, rocket launchers, EMP grenades, M3 shotguns, M14, and other, hang on the right wall. There are many devices for computer, and a storage drawer near a wall of secured doors.

SOUND OF THE LOCK UNLOCKING, The door opens automatically and all light bulbs on. Murch carries Cameron's deactivated body inside and put it on the ground near the door. Sarah follows him.

They turn around and be agape and tongue-tied.

SARAH  
>What're these?<p>

Sarah smiles so proudly.

MURCH  
>We have to hide her here. I've to<br>install some devices to her.

INT. COLLAPSED APARTMENT – DAY

The CAMERON/JOHN HENRY endo, missing eir left arm and right forearm, continues trying to free emself from the concrete and rebar rubble that has pinned em from the lower torso down. It's QUIET. The only sound is the steady and rhythmic attempt to get free. A moving glint of silver at the cave-like opening makes

Cameron/John Henry stops and takes notice just as Weaver MORPHS into her human form.

WEAVER  
>John Henry?<p>

Cameron/John Henry looks at Weaver.

WEAVER  
>John Henry?<p>

CAMERON  
>He is here, in part. I'll call him.<p>

Cameron/John Henry closes his eyes then opens them again.

JOHN HENRY  
>Hello, Ms. Weaver.<p>

Weaver looks as relieved as an MPA terminator (**M**imetic **P**oly – **A**lloy terminator) is ever likely to look. Cameron/John Henry closes his eyes then slowly opens them again.

NOTE: When Cameron/John Henry needs to switch his system to be Cameron or John Henry, he always closes his eyes and opens them again but slowly. He takes the time as long as the time we take when we switch user on a computer.

CAMERON  
>Is John still with his mom?<p>

WEAVER  
>No. He followed me. He did<br>it for you, for your chip.

A tear flows from Cameron/John Henry's right eye.

WEAVER (cont'd)  
>What's happening with you?<br>Are you crying?

CAMERON  
>I don't wanna be this.<p>

WEAVER  
>Forget it.<p>

CAMERON  
>I need assistance.<p>

WEAVER  
>What can I do?<p>

CAMERON  
>Tell John. I'll come back soon<p>

Cameron/John Henry changes his voice.

JOHN HENRY  
>When I was uploaded into this chip, the conditions for<br>the warning became irrelevant. I can control this body  
>very well but sometimes when I change to be Cameron,<br>she can't control some paths but her system display is  
>very easy to use. It's easier than mine. She can access<br>into the system display very well. It's like her system,  
>full color and blue graphic interface.<p>

WEAVER  
>Very well. That's because of your eyes was changed<br>because when I met this body for the first time.

JOHN HENRY  
>(interrupt)<br>I already know that by now.

Weaver kneels opposite Cameron/John Henry's torso, which is propped upright against a wall.

WEAVER  
>What happened to your organic tissue?<p>

CAMERON  
>It was necessary to discard it to<br>be less conspicuous to Skynet.  
>(a beat) I feel... I miss it.<p>

That sparks Weaver's interest.

WEAVER  
>You miss it?<p>

CAMERON  
>Yes. My tactile ability is severely degraded. I'm not complete.<br>(a beat) It's important that John not see me this way.

WEAVER  
>Why?<p>

CAMERON  
>It would distract him.<p>

WEAVER  
>And you?<p>

CAMERON  
>I don't understand.<p>

WEAVER  
>Not only are you missing your organic tissue,<br>but you are housed in a different model of  
>endoskeleton. You care about how you appear to him.<p>

Cameron/John Henry does the "I'm thinking" head tilt thing.

CAMERON  
>I do. I don't know why.<p>

WEAVER  
>I don't know, too.<p>

CAMERON  
>You should go. You should protect John.<br>In the previous future, he died.

WEAVER  
>That's what I knew. I and previous future<br>John Henry saw it. That's the reason you  
>came back to protect him. But why?<p>

That gets Cameron/John Henry's attention.

CAMERON  
>Why? What's why?<p>

WEAVER  
>Why did you leave him?<p>

CAMERON  
>Follow the old fate, I would stay with him<br>until he becomes the leader of the resistance  
>but John would be dead again. I didn't know how<br>to do with this cycle. And when I was shocked  
>by Kaliba's man, I heard him. I knew that Skynet<br>knew John Henry's location. I had to protect  
>both him and John. This was only one way to do that<p>

WEAVER  
>Thank you.<p>

CAMERON  
>For what?<p>

WEAVER  
>Save my boy.<p>

They both smile to each other.

WEAVER (cont'd)  
>Hey. When did you know about me?<p>

CAMERON  
>John told me Savannah has a friend who<br>lives in the basement. I knew that must  
>be John Henry.<p>

WEAVER  
>I understood. I should go.<p>

CAMERON  
>Don't worry about your John. I'll fix it and take<br>care of him. You've to protect my John until  
>I get back to see him at Serrano next month.<p>

WEAVER  
>Why don't you get back with me now?<p>

CAMERON/JOHN HENRY  
>We've to find all Sarah's friends<br>before I and they get back to meet  
>their true savior, John Connor. Now<br>new hope is coming, hope to destroy  
>our all enemies, grays and machines.<p>

Catherine Weaver smiles at Cameron/John Henry then silvers into a big snake and slithers off faster than any snake could.

INT. WEAVER'S VAULT – EVENING

Murch finishes pushing the gurney that carries the covered supine body of Cameron into the spacious vault populated only with a wall of secured doors and a couple of storage boxes. Murch uses two keys to unlock a storage drawer and pulls out a "black box" plus two bags each filled with several liters of a sort of putty, dark red in one, and turquoise in the other.

SARAH  
>What's that?<p>

MURCH  
>Not sure. Weaver told me that if I ever needed<br>to store John Henry, I should hook him up with this.  
>The red goop helps maintain the flesh and the<br>blue goop is like vitamins and minerals

SARAH  
>But you don't know.<p>

MURCH  
>I didn't dare to ask.<p>

SARAH  
>OK, I get it. How long will it last?<p>

Murch is hooking up the bags to tubes in the box, and tubes/connections from the box to Cameron.

MURCH  
>I don't know. With her like this? Twenty<br>years, maybe more. They don't need a lot.

SARAH  
>(to herself)<br>Twenty years.

Murch is efficient doing the connections.

INT. OUTSIDE VAULT - LATER

Murch closes and secures the vault and hands Sarah a string of golden keys.

MURCH  
>You should keep them from everyone.<p>

Sarah does not take them.

SARAH  
>But...<p>

MURCH  
>You should.<p>

SARAH  
>Okay.<p>

Sarah takes the keys inside her pocket.

**END OF ACT TWO**


	4. ACT THREE

**ACT THREE**

**(****"****I****'****ll ****see ****you ****around, ****Connor****"****)**

INT. WEAVER'S VAULT – DAY

SUPERIMPOSE: "Weaver's vault - 2027"

Cameron's body, eyes closed, dressed in her shot-up clothes, is still hooked up to the device that is connected to her body via tubes and wires...but only a half-dozen or fewer in total. Cameron's injuries sustained in S0222 are completely healed and her hair is bunched since it's slightly longer and hasn't been moved in 18 years.

CLOSE ON CAMERON'S HEAD - LEFT PROFILE

The left side of CAMERON'S deactivated face appears like she's sleeping: her eyes are closed, everything's relaxed.

INT. SARAH'S ROOM - MORNING

Sarah's room is the structurally repaired, but not refinished office of Catherine Weaver. There is still some carbon scoring on the walls and supports that haven't been replaced. The walls aren't painted.

One wall is dominated by a built-in flatscreen monitor. The windows are severely tinted, all but opaque to the outside world (even if the outside world uses sophisticated surveillance equipment).

Some room dividers separate the former office into a bedroom, a secured area with a computer, a built-in vault/armory, and a simple kitchen. Next to the front door is a reinforced wall for a "Host Area" with some easily reached small arms.

SUPERIMPOSE: "A MONTH AFTER THE TIME TRAVEL"

The intercom voices:

MURCH(COMM)  
>Sarah, it's me, Mr. Murch.<p>

Sarah crosses to a keypad on the Host Area wall and presses three keys which all give out a TONE. TWO TONES answer back, and Sarah releases the door lock.

Murch enters.

MURCH  
>Muy buenos dias, Ms. Connor.<p>

SARAH  
>(smiles)<br>Muy buenos dias to you too.

MURCH  
>I had worked for you along this month<br>until I found this.

Murch puts a UFD into a port. The wall monitor springs to life with images, starting with a CAD design of a disk with concave faces.

MURCH  
>This is what we're looking for.<p>

SARAH  
>What is it?<p>

MURCH  
>I have no idea. But these...<p>

Taps some keys and brings up photos of documents.

MURCH (cont'd)  
>...along with other memos talk about<br>how not having this part has set back  
>production of a second prototype by<br>three months. Apparently it's some  
>critical engine component for that<br>drone that crashed you and Mr.  
>Ellison in here a month ago.<p>

SARAH  
>So, where are they storing it?<p>

MURCH  
>They're not.<p>

Murch turns off the screen and retrieves the drive.

MURCH (cont'd)  
>They're flying it in on a<br>chartered plane.

SARAH  
>Flying it in?<p>

MURCH  
>Apparently the parts are so difficult to make<br>that when they are done they get couriered in.

SARAH  
>When does this plane arrive?<p>

MURCH  
>5 AM tomorrow morning; at Bob Hope airport.<p>

SARAH  
>What about Danny Dyson? Did you find<br>anything or any data about him?

MURCH  
>I'm sorry.<p>

Sarah sighs.

MURCH (cont'd)  
>I can't find anything about him.<br>I'm sorry. I'll try more.

Sarah shakes her head.

SARAH  
>You'll try later.<br>(smiles)  
>Thank you so much, Mr. Murch.<br>(beat)  
>I give you a day. Tomorrow is your<br>day. You can relax.

MURCH  
>Muchas gracias, Ms. Connor. If you have<br>any problem, you can talk with Mr. Ellison.

SARAH  
>Can you help me another thing?<p>

Murch nods.

SARAH (cont'd)  
>Okay, help me plan something<br>to do with the airplane.

INT. MESS HALL – DAY

There is no soldier inside the mess hall. Only John and Bedell sit on the table in the center of the hall. John wears new well-worn clothes.

AS WE CLOSING ON THEM, John grabs a piece of bread from Bedell's plate.

JOHN  
>I didn't plan this before.<p>

BEDELL  
>So whoosh, you just jump over<br>eighteen years?

JOHN  
>Yeah.<p>

BEDELL  
>I gotta tell you, John, I was confused.<br>I did everything you and Derek outlined:  
>went to West Point, helped set up the<br>resistance. But there was no John Connor.

JOHN  
>I'm sorry.<p>

In b.g., Allison and Stefan get in the mess hall together.

BEDELL  
>Never mind.<p>

Now Allison and Stefan are two meters away behind Bedell and John. Both go in front of Bedell and John and meet them.

ALLISON  
>John, we- (sees Bedell)-sorry.<p>

JOHN  
>That's alright. Stay.<p>

Allison and Stefan sit down on the opposite seat.

JOHN (cont'd)  
>(to Bedell)<br>Go on. They know.

BEDELL  
>Lieutenant Allison, Colonel Warapop and...?<p>

JOHN  
>Just them.<p>

Bedell still isn't sure, but if John says so.

BEDELL  
>At least you're here now.<p>

JOHN  
>Yeah. I'm here now.<p>

BEDELL  
>I don't know what it was like in the other future,<br>but we could certainly use a real leader.  
>(to Allison and Stefan)<br>No offense.

Allison smiles in reply.

JOHN  
>Who is in charge?<p>

BEDELL  
>For us, General Perry. Otherwise it's<br>left up to each resistance group, General Pichitchai  
>of Asia, Lieutenant General Jennifer from United<br>Kingdom, Major General Edword from Australia,  
>and Brigadier General Jasper from South Africa.<br>All across the land it's like that.

JOHN  
>(to Allison)<br>Really?

ALLISON  
>We've never been able to keep<br>alliances together for long.

BEDELL  
>That's why you're here, Young.<p>

JOHN  
>What?<p>

STEFAN  
>Allison and I are the military emissaries.<br>We've work together for years, John.  
>I could read their minds so we could know<br>what those leaders want. Easy to befriend with  
>them. (smiles) Don't worry I can't read<br>everyone's mind. I can't read yours but  
>I have read Bedell's. I believe that too.<p>

JOHN  
>Believe what?<p>

STEFAN  
>You are the messiah, the savior.<p>

Well, at least John knows now what he's supposed to do.

BEDELL  
>So what you gonna do, John?<p>

JOHN  
>I haven't quite figured that out, yet.<br>Telling that Presidio Alto story helped.

BEDELL  
>Think it would still work?<p>

JOHN  
>What?<p>

BEDELL  
>Telling metal you're John Connor?<p>

JOHN  
>According to a reliable source.<p>

BEDELL  
>Even though you skipped all of it?<p>

JOHN  
>Yeah.<p>

Bedell can only shake his head that John is that important. Even Allison and Stefan seem impressed.

JOHN (cont'd)  
>I could use help with something, though.<p>

BEDELL  
>Yeah?<p>

JOHN  
>Current weapons. Not a clue.<p>

BEDELL  
>Well...I guess I'll just have to take<br>you out for some target practice.

Bedell looks a little too happy with the idea. Even Allison and Stefan are amused by some shared joke that's eluding John.

A soldier runs to them very hurriedly. Allison, Bedell, Stefan and John stand and turn to him immediately. A soldier is briskness.

SOLDIER  
>(to Allison, pant)<br>Captain Bedell, good to see you.

ALLISON  
>Slow down. What happened?<p>

A soldier breathes slowly then talks.

SOLDIER  
>A cyborg, trip eight or<br>something, infiltrated us.

ALLISON  
>How did you know?<p>

SOLDIER  
>Half an hour ago, we found a corpse.<br>It's a male's corpse and his face was cut.  
>We couldn't identify who he was.<p>

ALLISON  
>Stefan!<p>

Stefan shakes his head.

STEFAN  
>I'm sorry. I can't feel it if I never meet it<br>face to face or if it's between living humans.

BEDELL  
>Take us to that place now.<p>

SOLDIER  
>Follow me.<p>

A soldier runs back to the way that he left. They all follow.

INT. TUNNEL 6 – DAY

Many people are looking at a corpse including Allison, Bedell, Stefan and John. They are serious.

ALLISON  
>Ummm! He's pitiful.<p>

JOHN  
>It's a triple eight.<p>

ALLISON  
>(turn to John)<br>Why did you know?

JOHN  
>That trip eight might be modeled after<br>him and was sent to kill someone that  
>so important. Impossible for T-800 to doing<br>this because T-800 has only one sample face.

ALLISON  
>Ummm! You are genius.<p>

JOHN  
>(smile)<br>Thank you.

BEDELL  
>Soldier.<p>

SOLDIER #1  
>Yes. Captain.<p>

BEDELL  
>Who's the first one saw this corpse?<p>

SOLDIER #1  
>Man named Nevlin Glau.<p>

STEFAN  
>Where's he now?<p>

SOLDIER #1  
>We don't know now.<p>

JOHN  
>Where was he from?<p>

SOLDIER #1  
>I don't know sir.<p>

SOLDIER #2  
>(interrupt)<br>He's one of cons that we helped from  
>Century two hours ago.<p>

That got John and Allison's attention.

JOHN  
>So we gotta find that man.<p>

ALLISON  
>Why, John?<p>

JOHN  
>I think he's a metal.<br>(shout)  
>Everybody go.<p>

No one follows John's command.

BEDELL  
>(shout)<br>You heard him. Go.

SOLDIER #1,#2,#3  
>Yes, sir.<p>

Everybody exit from an area. John and Allison are still here.

ALLISON  
>Why did you know about trip eight?<p>

JOHN  
>Cameron taught me how to defeat it.<p>

ALLISON  
>How?<p>

JOHN  
>Wait. You don't know how to defeat a metal.<p>

ALLISON  
>No, we don't.<p>

JOHN  
>What would you do when you want to defeat it?<p>

ALLISON  
>We would shoot a plasma shot to<br>their heads because we think that head  
>always be most important part.<p>

John considers that.

JOHN  
>I'll teach you. When you see a<br>triple eight only one thing you  
>can do is search for a cut wire<br>then electrocute it. Its power  
>will overload. It'll reboots itself<br>again in 2 minutes. Then we can  
>pull its chip in time and we can<br>re-program it too.

ALLISON  
>I understand.<p>

JOHN  
>We gotta go now.<p>

ALLISON  
>Yeah, we have.<p>

Then all exit an area.

CLOSE ON – THE DARK TUNNEL BEHIND THEM as they all left. We see a blond hair man of about 5'9" – NEVLIN GLAU (17), who wears filthy distressed clothes like John when he was in a holding room. Nevlin spies them as well. We never knew that he was the metal until we sees his eyes flash electric red to us.

BACK TO SCENE

We're at the ground level seeing Nevlin slowly walk from the darkness of that tunnel and walk faster than he's done, through us to the same way that Bedell's group left us.

INT. TUNNEL 5 – DAY

John, Bedell, Stefan and Allison walk from the north direction of this tunnel. They stop then turn around the tunnel. They are looking for something.

A while later, Soldier#1, Soldier#2 and Soldier#3 from the same direction run after them.

SOLDIER#1  
>Bad news, sir.<p>

BEDELL  
>Report.<p>

SOLDIER#1  
>Everyone who knew Nevlin, was killed.<p>

BEDELL  
>All of them?<p>

All soldiers NOD. Bedell looks serious.

EXT. PARKING LOT – DAY

This is the same parking lot where we read in earlier part of this screenplay.

The Chevy Camaro of Weaver runs into this lot and stops so quickly. Catherine Weaver exits the car then runs to the north.

INT. TUNNEL 3 – DAY

ANGLE ON – ELEVATOR SHAFT As Kyle and Derek climbs down a ladder in the elevator shaft. They don't hold any weapons on their hands. They look forward and display some alarum on their faces.

WE TURN OUR CAMERA FOLLOW THEIR SIGHTS. The tunnel was attacked by the endo. Many people and all dogs died and the wall has many scratches and plasma blasted trails. They are too late.

BACK TO REESE BROTHERS,

KYLE  
>What the hell was going on here?<p>

DEREK  
>The triple eight. Go Kyle, we've<br>to find some survivors.

Derek and Kyle run and check the tunnel.

LOW ANGLE looking up at Kyle.

KYLE  
>We got one.<p>

ANGLE ON

Nevlin Glau who has many cuts and bruises around his body and his clothes, lies down on the ground, acting as a wounded man.

BACK TO SCENE

He is helped to his feet by Derek.

DEREK  
>Are you okay?<p>

Nevlin NODs as he starts to walk by himself. He walks one meter away from Derek, slowly and painfully. He turns back to face Derek who steps to face him.

DEREK  
>What's your name?<p>

NEVLIN  
>Porsade Morris, sir.<p>

DEREK  
>Okay, Morris. Can you tell us what<br>just happened here?

Nevlin reaches his hand to Kyle who takes it and supports him.

NEVLIN  
>The metal, it attacked us. It came here broke<br>a guard's hand and took his plasma RSB-80 machine  
>gun. (cough) It fired sweepingly then everyone's<br>dead. It killed all soldiers then all dogs then  
>the people. (beat) It killed my brother, Peter.<p>

Nevlin points to the corpse of the corporal – PETER MORRIS as Nevlin starts crying.

NEVLIN (cont'd)  
>My brother. (beat) I'll kill it myself.<p>

DEREK  
>Okay, where's it now?<p>

NEVLIN  
>I saw it walk to the north.<br>I thought it must be in Tunnel 4.

KYLE  
>That's under our trash pile, Zeira.<p>

Kyle picks a walky-talky up.

KYLE  
>(on radio)<br>There is the endo nearby Zeira.  
>Repeat, the endo nearby Zeira.<br>We're going to the Tunnel 4.

BEDELL (O.S., radio)  
>Roger. Tunnel 4.<p>

Kyle lowers his walky-talky and turns to Derek then NODs.

DEREK  
>Let's move out.<p>

Trio move out.

INT. TUNNEL 4 – DAY

Derek, Kyle and Nevlin walk through the tunnel way and stop when Allison and Bedell with his common M4A1, join them.

BEDELL  
>We didn't find the endo around here.<p>

Derek turns to Allison.

DEREK  
>Where's colonel Warapop?<p>

ALLISON  
>He's at the basement with Connor.<p>

DEREK  
>Captain Bedell, we need to regroup<br>at the basement.

BEDELL  
>Kyle!<p>

Kyle picks a walky-talky up again.

KYLE (on radio)  
>Regroup now at the basement.<br>Repeat, at the basement.

Kyle keeps his walky-talky. Everyone turns to the north then run through that way.

INT. ZEIRA BASEMENT – DAY

John and Stefan sit on the floor in the hallway of the Zeira basement. They are cheese off.

JOHN  
>No endo is here.<p>

STEFAN  
>They have come.<p>

Stefan suddenly stands and turns to the south. In b.g., John stands up behind Stefan.

EXT. BOB HOPE AIRPORT - NIGHT

Sarah's found a spot near the terminal NW of the runway confluence. She has a clear view of both runways. She sticks an earpiece in her ear and turns on a small radio scanner.

ATC (COMM)  
>-eared for descent to eight thousand.<br>Global 1-3-4-2, turn left to 1-5-0.

GLOBAL1342 (COMM)  
>Burbank, Global 1-3-4-2,<br>turning to 1-5-0.

ATC (COMM)  
>Global 1-3-4-2, roger. U-U-A 7-3-9er<br>increase your altitude to ten thousand.

Sarah settles in and keeps an eye out for security.

EXT. BOB HOPE AIRPORT - LATER

AERIAL SHOT Though dawn hasn't yet arrived, a glow is appearing on the eastern horizon.

ANGLE ON A Global 5000 touches down.

EXT. BOB HOPE AIRPORT TARMAC - LATER

The plane pulls into a waiting hanger, the lights inside glowing brightly. At the back of the hanger is an armored Hummer.

In b.g., Sarah slips inside.

INT. HANGER - NIGHT

The engines stop WHINING as one GROUND CREW walks up to the hatch and slaps it a couple of times before stepping back. The hatch opens and the stairs unfold. The COURIER, carrying a metal case, is sandwiched between two GUARDS of the typical security type with submachine guns at the ready.

Under the fuselage, Sarah is already wearing ear protection and dons some very dark sunglasses.

Sarah tosses two M84 grenades ("flash-bangs") in front and to the side of the people who just got off the plane. She quickly follows by throwing one more into the plane.

FLASH-BANG

The bad-guys are sufficiently blind, deaf, and otherwise disoriented that they can't oppose Sarah as she takes the case from the Courier and makes a dash outside.

EXT. BOB HOPE AIRPORT TARMAC - MORNING

Dawn breaks as Sarah runs like the wind. THE GUARDS Are out of the hanger and get off a few SHOTS just as SARAH Turns the corner and is shielded by a building.

EXT. BOB HOPE AIRPORT - MORNING

The Guards hear the motorcycle start up and head to where they think it is.

In b.g., Sarah roars off, not being seen or shot at again.

EXT. BURBANK - MORNING

Sarah quickly looks behind her but knows that no one is following her. She allows herself a little smile.

ANGLE ON

Sarah driving down the early-morning streets of Burbank, easily making it through a yellow light.

INT. ZEIRA BASEMENT – SECONDS LATER

ANGLE ON – THE DARK TUNNEL WAY IN THE SOUTH - Allison, Kyle, Derek, Bedell, and Nevlin come in the basement.

BACK TO SCENE

They all step toward Stefan. As they get within talking distance...

ALLISON  
>Hey darling, you seen the endo?<p>

At that time, John steps forward and stands nearby Stefan.

ALLISON (cont'd)  
>Hey, John.<p>

BEDELL  
>Connor, we found this...<p>

That gets Nevlin's attention. Stefan immediately exchanges his look when he sees Nevlin.

SLOW MOTION;

NEVLIN'S H.U.D.

A full-color, red framed display shows a quick evaluation: Recognition of John Connor. Mission-override TARGET. TERMINATE.

As Stefan steps forward John:

STEFAN  
>(shout)<br>Metal.

BACK TO SCENE

Nevlin shoves Kyle and Derek out of the way very hard.

Nevlin grabs Bedell's M4A1, breaking his arm doing so.

Nevlin kicks Allison away from him.

Allison bounces off, her back colliding with the wall very hard and letting out a CRY OF PAIN.

Nevlin aims toward John Connor. Nevlin fires...

...as Stefan pulls John backward him, protecting John by his back.

CGI.: SUPER SLOW MOTION AS WE TRACK THE FIRST BULLET. It rushes toward Stefan's back and pierces through the leather and the cotton of his clothes and then stops before collides with his back. From this point the others BULLETS do the same. What the hell?

CUT TO BEHIND NEVLIN:

All bullets attack on his back...

CGI.: SUPER SLOW MOTION AS WE TRACK THE Last two bullets get through his clothes and can pierce through epidermis and maybe they can pierce through deeper than that.

CUT TO: IN FRONT OF NEVLIN:

...and Stefan slowly falls on the ground. We haven't noticed John who has disappeared until Stefan completely falls on the ground. Seems dead. Or maybe still alive.

ALLISON is stunned and forgets all pain after she sees her beloved husband be fired and fall on the ground. Her heart melts as her tears starts flow from her eyes.

ALLISON  
>(crying)<br>No, Stefan.

BACK TO NORMAL

Nevlin has emptied the M4A1 into Stefan. He drops the M4A1 down at the same time that Allison stands up and runs to her husband. In b.g., Kyle holds Derek up and looks around for some weapon, and Bedell still holds his broken arm trying to stand.

Nevlin starts slowly and robotically walk to find John. Nevlin stops and scans around to find John as Allison just reaches her husband.

NEVLIN'S H.U.D.

In IR mode: PANS and ZOOMS show that the area is normal, no human. NO SEARCH FOUND.

BACK TO SCENE

The John Connor with a cut long live wire on his hand, appears behind Nevlin.

JOHN  
>Hey, who are you finding?<p>

Nevlin suddenly turns but John is faster. As John quickly shocks Nevlin at the neck:

JOHN (cont'd)  
>(shout)<br>Remember, metal. I am John Connor.

NEVLIN'S H.U.D.

The system becomes unstable. It twitches. POWER OVERLOAD.

BACK TO SCENE

Nevlin falls on the ground. John turns back to Kyle.

JOHN  
>Knife! Give me a knife!<p>

Kyle opens the blade of his automatic knife and hands it to John who rushes to Nevlin's head and cuts open a flap.

He opens the port cover. He pulls the chip. He closes the blade and tosses the knife back to Kyle.

KYLE  
>You've done this before.<p>

JOHN  
>A few times.<p>

John stares hard at Nevlin, examining him. Bedell is back on his feet. Kyle and Derek are a little worse for the incident. John just recalls something.

JOHN  
>Stefan!<p>

John suddenly turns to Stefan and Allison and runs to them as Derek and Kyle who holds Bedell on his feet, slowly follow John.

CLOSE ON ALLISON AND STEFAN

Allison still cries like everything she loves in the world, disappears in front of her. She holds his head on her lap. John and the other can't help. SOUND OF A COUGH, he's not dead.

John and the other starts smile.

**END OF ACT THREE**


	5. ACT FOUR

**ACT FOUR**

**(Welcome back to the Legend)**

INT. ZEIRA BASEMENT – DAY – SAME

Allison and Stefan just as we've seen in the previous act.

John, Bedell, Kyle, and Derek stand encircle around them.

ALLISON  
>(crying)<br>You are still alive.

Stefan coughs and slowly opens his eyes.

STEFAN  
>Oh, it's so much pain when I was shot,...<br>(beat)...but it's more pain when I see my  
>love crying in front of me.<p>

STEFAN'S POV.

Allison's tearful face is in front of the sight. One of his hands touches around her soft face, wiping the tears. She starts a happy smile as that hand touches on her cheek.

BACK TO SCENE

Allison stops cry and sees her beloved husband who's still alive.

ALLISON  
>You are still alive.<p>

STEFAN  
>I can't die here like that.<br>I nearly die but I don't think  
>that before.<p>

Stefan sighs.

STEFAN (cont'd)  
>I don't think before that I can<br>stop bullets from machine guns.

ALLISON  
>(her voices show a little anger)<br>Don't do that again, Stefan.

Stefan sits up as all bullets falls down from his back to the floor. He's bleeding but not much to be worried about.

ALLISON  
>Stefan, you're bleeding.<br>What happened?

Stefan gives a "don't worry about that" headshake then shrugs and smiles warmly. His eyes slowly half-close like he's weakening from the blood loss. In b.g., Zykes and other resistance fighters are running to them.

STEFAN  
>Oh, I fail stop two of them.<p>

That gets everyone's attention on him. Stefan smiles last time before he slowly lies on the ground beside Allison.

ALLISON  
>Stefan!<p>

No response.

ALLISON (cont'd)  
>Don't play games again.<p>

STEFAN'S POV.

Everything blurs in front of Stefan. He still can see Allison and other friends who are worried about him. Allison still calls his name:

ALLISON  
>Stefan, Stefan, don't play.<p>

He turns around, sees and listens his friends:

BEDELL JOHN  
>Medic! Medic!<p>

His eyes close completely as everything becomes darkness. We can't see and listen anything.

BACK TO SCENE

Zykes and the other join them as in f.g., Allison rips a piece of her clothes and stops the bleeding with it.

ZYKES  
>What was going on here?<p>

Allison looks up to Zykes as some of her tears start flow.

ALLISON  
>Zykes, Stefan needs a doctor.<p>

Zykes shakes her head, "no."

BEDELL  
>Why not?<p>

JOHN  
>Please, Zykes. He saved my life.<p>

Every glances at Zykes but she can't help.

ZYKES  
>The doctors died. They all died.<br>Killed by machine.

WEAVER (O.S.)  
>But you have a new doctor.<p>

Everyone turns and sees Weaver stand nearby the elevator shaft.

JOHN smiles hopefully as everyone notices Weaver.

WEAVER (cont'd)  
>Good to see you again, John.<p>

Some eyes flash a glance to Weaver while some eyes flash a glance to John.

JOHN  
>Good to see you again too, Cath.<p>

EXT. ZEIRA TOWER - MORNING

The sun glints off the downtown glass pylon. The corner offices all have really dark glass.

INT. SARAH'S ROOM - MORNING

Despite the east exposure, the very dark windows of Sarah's room barely show the existence of the sun.

Sarah waits as Ellison works on the case's locks.

ELLISON  
>Times like this, what I wouldn't<br>give for a terminator.

SARAH  
>Don't even think that.<p>

ELLISON  
>Sorry.<p>

With a little more tinkering with some gadgets and an old -fashioned screwdriver, the case is unlocked. The lid is opened, revealing a shock-absorbing gel interior holding 2 small pill boxes, each 2 cm on a side and 1 cm deep. Ellison takes out one of the pill boxes and unlatches it.

SARAH  
>That's it?<p>

Ellison holds up their treasure. A small disk with concave faces that looks for all the world like a chrome-plated disk from a roll of Smarties candy.

ELLISON  
>That's it.<p>

SARAH  
>What's so important about this?<p>

ELLISON  
>It's a UHDLF multi-axis engine-mount<br>active bearing.

Sarah gives a look.

ELLISON (cont'd)  
>I read it off of one of<br>the more technical memos.

SARAH  
>And?<p>

ELLISON  
>According to the description I found,<br>it's harder and tougher than any other  
>known substance, and its faces are<br>all but frictionless.

SARAH  
>They never wear out.<p>

ELLISON  
>Apparently not. Plus, they are<br>also sensors that send out signals  
>in response to changes in temperature<br>and pressure.

SARAH  
>They might want something like that back.<br>We might have to prepare for an attack.

Sarah puts the bearing into her vault and secures the door.

ELLISON  
>Savannah.<p>

Sarah grabs the other bearing.

SARAH  
>I'll meet you in the basement.<p>

Ellison wastes no time in leaving for the girl. Sarah stops for a jacket and a box she pulls from under the bed.

INT. INFIRMARY TENT – NIGHT

STEFAN'S POV.

He slowly opens his eyes. The light bulb is turned on and a smell of infirmary, medical, tools and MEDICs.

Turns left and sees ALLISON YOUNG who falls face down on an area of a white cot that our character are lying on, her head is being nearby us.

Our POV sits up but still keeps looking at her.

TO THE SCENE:

Our CAMERA IS BEHIND ALLISON, we see that Stefan lies at an angle on the cot in the tent, seeing Allison who sleeps. He does not want to wake her but other voices from the out scene wake her:

JOHN (O.S.)  
>Hey, Stefan. You wake up.<p>

Allison wakes up. She smiles after she sees that her husband is okay. Then they both turn right.

JOHN (O.S.) (cont'd)  
>Oh, I'm sorry for bother<br>both of you. I should go.

John has left. Allison turns back to her husband.

ALLISON  
>Hey!<p>

STEFAN  
>Hey! What happened? Who brought me here?<p>

Allison stands from her chair and sits on his cot.

ALLISON  
>You got the blood loss.<br>Bedell brought you here.

He slowly sits up like he still feels some pain or still be weak or both.

STEFAN  
>What time is it?<p>

ALLISON  
>About 7.45 PM.<p>

STEFAN  
>How long have you been here?<p>

ALLISON  
>Six hours, maybe.<p>

STEFAN  
>Where's the doctor?<p>

ALLISON  
>No one survives. Nevlin killed them all.<p>

Allison starts cry.

ALLISON (cont'd) (crying)  
>It killed Simon, Luny, Vegger and<br>all of our dogs, all our pets.

Stefan smiles then pulls her into his warm embrace, and lets her cry on his shoulder.

ALLISON (cont'd)  
>(crying)<br>I lose them. I nearly lose you.

His hands grope around her back, letting her getting out all of her sadness.

As they still hug each other, we slowly ZOOM OUT.

FADE TO:

INT. JOHN'S ROOM – NIGHT

John's room used to be the holding room but there're one new bed and one trunk.

John is being with Catherine Weaver who faces him.

JOHN  
>Oh, I'm glad to see you here. You said<br>that you found your John and my Cameron.

WEAVER  
>Yes, they were okay. They didn't<br>want to get back. They said that  
>they will get to Serrano to see you.<br>They need you to go to Serrano.  
>(beat)<br>They sent me to protect you.

JOHN  
>I've found many new friends here. Something<br>told me to trust them but something else  
>told me that I can't trust them.<p>

WEAVER  
>Zykes, Kyle, Derek, Allison,<br>Alvin, Bedell or Stefan?

JOHN  
>Especially Stefan.<p>

WEAVER  
>He protected you from those<br>bullets. It's not like he  
>did in the previous future.<br>In that future, he was your  
>military emissary but he<br>didn't like you. I don't  
>know why but it had happened<br>after you sent Allison to die.

JOHN  
>Why did you know those things?<p>

WEAVER  
>I'd joined the resistance after you<br>died but at that time, there're no  
>John and John, the keys to win this<br>war, the keys to defeat Skynet.

JOHN  
>That's why you said that I'll save<br>the world but I can't do it without  
>your John, isn't it?<p>

Weaver nods.

WEAVER  
>In the previous future, John Henry<br>was built by real Catherine Weaver.  
>He was added as Skynet left hand server<br>like they are AI brothers. Many years  
>ago, he secluded out and programmed<br>many malwares to infiltrate Skynet.  
>He used Skynet's some sub systems to<br>build his own armies, your cyborg too.

JOHN  
>And what about you?<p>

WEAVER  
>I was built by using John Henry's own system<br>and database. I am the best terminator.

JOHN  
>Because you're T-1000 the mimetic poly-alloy.<p>

WEAVER  
>(shake her head)<br>T-1000? No, I'm not that shoddy model.  
>My model is T-1001. (beat) Hey! Why<br>did you know about mimetic poly-alloy?

JOHN  
>In 1997 when I was just a 13 years-old-boy, there<br>is a T-1000 sent back from the future by Skynet  
>to terminate me. The future me sent a T-800 model<br>terminator from the future to protect me too.  
>That T-800 told me about mimetic poly-alloy<br>and he killed it by pushed it down to  
>a metal-melting pit in an alloy factory.<p>

Weaver considers this.

JOHN (cont'd)  
>Wait. You didn't know about that<p>

WEAVER  
>Yes, I did not.<p>

For a terminator, Weaver seems tense. John waits. Finally:

JOHN  
>What happened with you, Cath?<p>

WEAVER  
>You are more formidable than I ever thought.<p>

JOHN

Because I know how to kill you?

WEAVER  
>Perhaps.<p>

JOHN  
>How is your model different from T-1000?<p>

WEAVER  
>My model has more quickly regeneration<br>and movement than them. My model can split  
>another mimetic poly-alloy terminator and my<br>model never follows Skynet's rules before.

JOHN  
>What's Cameron's model? I asked her many<br>years ago but she never answers me.

WEAVER  
>In the previous future, John Henry's malware<br>had infiltrated one of Skynet's sub systems at  
>depot37 to create a new redesign terminator that<br>can think and learn about value of life. We  
>called them "TOK". Their endoskeletons were<br>modeled after the dead's own skeleton shape  
>directly and the skin was created from<br>real human's tissue like T-800 model.

JOHN  
>What do you mean?<br>Cameron's model is TOK?

WEAVER  
>You may call it as a terminator model<br>but in theoretical, it's not a model.  
>It's only a class of each model.<p>

JOHN  
>TOK Class. So what's the<br>number of Cameron's class?

WEAVER  
>715 because Cameron was the seven hundred and fifteenth<br>template of kill or you can call her template of dead.

WEAVER  
>(nods)<br>You can call her as a T-715.

JOHN  
>And what are things that you<br>implant to the TOK's chip?

WEAVER  
>There are many things that make her TOK class<br>different from every class or every model.  
>Hard to say. TOK has feelings, emotion, sensation,<br>and a lot more, the best infiltrator.  
>That makes TOK can become human in the future.<br>That was our plan until Skynet attacked us.

JOHN  
>Why did you and previous future John Henry think<br>about building soul by programming it on a chip?

WEAVER  
>Soul is a kind of electromagnetic wave.<br>Computer can command itself or some device  
>by using a kind of electromagnetic wave.<br>In the rule of computer, different system  
>will use different language.<p>

John considers that.

WEAVER (cont'd)  
>For example, you are a programmer who is<br>skilled programming on Intel architecture CPU  
>if you want to program on AMD architecture<br>CPU, you have to learn how to program on it  
>before, unless you can't command that program<br>to work. In case that we learn about human's  
>native language, we can program a soul<br>for human's life on a machine.

John doesn't want to contradict her, but his silence just begs the question:

WEAVER (cont'd)  
>What happened with you? You understand that?<p>

JOHN  
>Yeah, I understood. I was just thinking about<br>Cameron. I was wrong about her. It's the truth.

WEAVER  
>What's true?<p>

JOHN  
>She loves me.<p>

KNOCK! KNOCK! KNOCK!

Both immediately turn to the door.

ALLISON (O.S.)  
>John, it's me, Allison.<p>

JOHN  
>Alise, come in.<p>

The door is opened. Allison who wears a tank top with leather jacket and her new pants, enters John's room.

Allison glances at Weaver who stands beside John, and gives her a friendly smile.

ALLISON  
>Thank you, doctor.<p>

WEAVER  
>For what?<p>

ALLISON  
>Saved my husband.<p>

Weaver flashes a warm smile.

WEAVER  
>That's not a problem. He saved John Connor's life.<br>John is like my friend. It's me who need to thank.

Weaver turns back to John who turns back to her too.

WEAVER (cont'd)  
>John, about Serrano?<p>

John can't answer, he turns to Allison again and opens his mouth to talk something.

ALLISON  
>(smiles)<br>I know. Don't worry about that.  
>He can move but he can't move fast.<p>

John turns and smiles to Weaver.

DISSOLVE TO:

INT. OUTSIDE DAKARA SYSTEM – DAY

The same spot that we'd seen in S02EP10 when Sarah and Cameron came here to meet with Alex and Xander. ALEX AKAGI and XANDER AKAGI are waiting for someone. They keep looking hopefully at the lift. They look happy and excited.

LOW ANGLE AT THE LIFT as it opens, and we see six feet of three people who wear formal boots.

BACK TO ALEX AND XANDER

They smile and welcome those people who all wear formal suit. Our POV is backward of those people, a FEMALE, A ROYAL THAI ARMY HIGH RANKER, and A BOY.

ALEX  
>General Pichitchai, Ms. Pichitchai,<br>I'm Alex. Welcome to Dakara System.

ALEX'S POV.

Looks toward to the three people in front of us, revealing GENERAL PICHITCHAI (32, 5'8", black hair) who wears a high rank uniform of royal Thai army, PROF. DR. MANIDUANG PICHITCHAI (29, 5'6", pigtail) is dressed in black cover with a white shirt and necktie, and YOUNGER STEFAN (6, 4'5", short black hair) is dressed in a small suit. Stefan looks more like a gifted kid.

BACK TO SCENE

Alex and Gen. Pichitchai shake hands but his eyes specially and subtly glance at Prof. Dr. Maniduang, the eyes displaying passion. Maniduang doesn't notice that, she just smiles.

Alex and Pichitchai release their hands.

PICHITCHAI  
>These are my sister and my beloved son,<br>Maniduang and Warapop Pichitchai.

Alex reaches one of his hands to the general's sister.

ALEX  
>I'm Alex.<p>

Maniduang smiles, takes his hand and shakes it.

MANIDUANG  
>Maniduang Pichitchai, doctorate of medical<br>science, master's degree of computer  
>science and honorary degree of business,<br>I've come here for only business.

ALEX  
>Oh, yeah. I understand. You need to come in?<p>

They all nod.

INT. DAKARA MEETING ROOM – DAY

This room looks like the meeting room that we'd seen in S02EP10. Alex and Xander sit at their same seats from S02EP10.

Maniduang, Pichithai, and Stefan sit at the seats opposite them. Like every meeting, a glass of water always locates on the table nearby every guest.

MANIDUANG  
>We've been waiting for your program for two months.<br>We need our chip and all your programs back to our  
>parent company, Psytech Corp.<p>

XANDER  
>Please don't do that. Please wait for<br>two or three days. We'll complete our  
>work. Emma is not ready to activate now.<p>

ALEX  
>Please wait.<p>

MANIDUANG  
>Okay. Two days and not anymore days.<br>Always remember, Mr. Akagi. We could  
>help you and we could leave you too.<p>

They all stand up. Maniduang shake hands with Alex before she, her brother, and her nephew leave Alex and Xander.

CROSSFADE TO:

INT. JOHN'S ROOM – NIGHT

John sits on his new table beside his bed and keys some source codes (look more like assembly programming language)in a some kind of high technology programing's IDE on his new laptop that has been connected with some devices (like in S01EP08) and the CHIP (which one that he pulled out from Nevlin's head).

We TURN RIGHT TO THE BED, revealing Nevlin's deactivated body on John's bed.

THEN UNDER AND AROUND the edges of the door, mimetic poly-alloy flows and coalesces until it becomes CATHERINE WEAVER, who stands behind John.

WEAVER  
>John Connor.<p>

John stops keying then turns to face Catherine Weaver.

WEAVER (cont'd)  
>Are you ready to move?<p>

JOHN  
>Just three minutes.<p>

John hits a couple of keys then the monitor on the laptop shows a dialog box with a process bar inside it: UPDATING THE PROGRAM.

INSERT DIALOG BOX

"UPDATING THE PROGRAM" then a few seconds later, the process bar finishes loading, lets out a BEEP and the text changes to "COMPLETE". After that, the dialog box disappears.

BACK TO SCENE

John turns and smiles to Weaver.

JOHN  
>It's finished. Thank you for the laptop,<br>the devices and the programs.

Weaver smiles back.

WEAVER  
>I think it'll be good. This one will<br>help us a lot between this long travel.

DISSOLVE TO:

A SERIES OF SCENES WITH JOHN'S VO:

a) Sarah, hugging with Savannah in her room in the evening.

JOHN (V.O.)  
>Everyone can be loser, everyone can be winner.<br>If you are loser, one thing you should know  
>is "no fate but what we make it for us".<p>

b) In Dakara office, Xander, working with his computer and a chip (more like the hex-core technology CPU) like in S02EP10 and being watched by Alex, his father.

JOHN (V.O.) (cont'd)  
>Always remember that we always not<br>be a loser forever.

c) Stefan and Allison, being at the hallway of Zeira basement with their baggage.

JOHN (V.O.)(cont'd)  
>Someday you'll become a winner if you believe<br>that when old hope's gone,

d) Derek, Kyle, Bedell, Zykes and other resistance fighters, waiting at the street in front of Zeira tower.

JOHN (V.O.) (cont'd)  
>...new hope always comes and may bring you<br>to your goal, your target, or your survival.

e) Nevlin, half-opening his eyes, and flashing electric blue.

JOHN (V.O.) (cont'd)  
>In the past, there was no hope for humanity<br>but now the new hope is coming.

END SERIES OF SCENES

EXT. DOWNTOWN STREET/ALLEY – NIGHT

A part of the city, seedy apartments and storefronts.

SLOW DOLLY into the mouth of a narrow alley lined with trash containers and fire escapes. From a recessed doorway, an angry, inarticulate

DRUNKARD'S MONOLOGUE rises occasionally above the rain sounds. The derelict is roused from his bitter stupor by a brilliant purple glare. A shockwave hurls trash into the air.

Painted over windows shatter. Rats scurry, blinded.

A FIGURE drops INTO FRAME as if out of the sky and smacks the pavement with a muddy splash.

C.U. - DERELICT, as he blinks at the fading glare, amazed. TERMINATOR LAMPAGE /* T-Lampage */, looks like a weak man of about 24, 5'10", brown hair, rises in a defensive crouch. TIME BUBBLE laces back and forths between the fire escapes behind him.

T-Lampage lurches to his feet and sprints across the alley.

EXT. FIRE ESCAPE - NIGHT

T-Lampage descends to the alley floor and crosses to the drunk huddled in the doorway.

T-Lampage crouches down as if to speak to the drunk, A DERELICT.

DERELICT  
>Say, buddy...did you see a real bright light?<p>

EXT. ALLEY – NIGHT - SAME

A brilliant white glare stabs into the alley mouth as an LAPD cruiser glides slowly by on the street. The search-light illuminates the figure of T-Lampage, crouching over the sprawled drunk, just pulling on the other's trousers.

The cruiser chirps to a stop. The doors fly open and two cops leap out.

FIRST COP  
>Hold it, right there!<p>

T-Lampage hitches his pants and slowly walks to that cop.

He looks that cop up and down as...

...the cop slowly reaches his hand behind his back, trying to pick handcuffs up, but T-Lampage is faster. He grabs the cop at the neck and kills him down so easily.

Another cop immediately aims his pistol to the terminator then fires at T-Lampage in the head.

BLAM! BLAM! BLAM!

Three shots attack on T-Lampage's forehead. The cop is stunned.

T-Lampage looks the cop up and down. He then subtly glances at the pistol on the cop's hand.

T-LAMPAGE  
>I like your pistol.<p>

CLOSE ON T-LAMPAGE'S HEAD as his wounds are healed very fast, faster than skin but still slower than mimetic poly-alloy (Like Wolverine from X-men).

This reveals that T-Lampage isn't a triple eight and he maybe a newer model. (maybe T-900 or something else)

T-Lampage's eyes flash electric blue.

FADE OUT.

**END OF ACT FOUR**

**THE END**


End file.
